Small Talks: Sara Peterman

Sara Peterman is a textile artist and illustrator based in St. Petersburg. Now a board member of Brooklyn Art Library, Sara has helped take the collection on tour, assisted with events and exhibitions in the Library’s original space in Georgia, and has lent her eye for creative design to numerous projects and initiatives throughout the Sketchbook Project’s 15-year history. Sara has added many sketchbooks to the Library’s collection over the years, which showcase her talent for pattern design, painting, and ephemeral illustrations inspired by her adventures between Florida and New York. Along with teaching classes at the Textile Arts Center in Brooklyn, she has contributed and collaborated on designs for Mast Brothers Chocolate, Pocket Dept. Notebooks, and PechaKucha among others.

On Wednesday April 21st, 1pm EST, Sara will lead a workshop on gouache painting in sketchbooks as part of our April Small Talks series.

As someone who’s been involved with The Sketchbook Project since its inception, do you have any experiences with the collection, with visitors, or with artists that resonated with you?

I have so many amazing memories it’s hard to narrow it down! I had the opportunity to see the Sketchbook Project evolve from when Steven and Shane were just two art students figuring it out back in Atlanta, to what it is today—a world-wide community and art movement. I toured with the project through my 20s, and I have so many amazing memories from that time. I remember crying as I heard artists’ stories about their work, and the sad or sweet memories behind their sketchbooks. I spent days sewing cloth covers to hold in the sketchbooks on the first versions of rolling shelves we took on tour. I helped design the first Mobile Library in Google Sketch-Up back when it was still a crazy idea, and we hadn’t quite figured out all the logistics. When I worked in the Library in Brooklyn, the same kid would come every day after school and flip through books, and I would bring him books I thought he’d like that day. I remember touring before we had the Mobile Library and our voices would be gone at the end of shows after talking to hundreds of people about what books they wanted to see. I maintained an internal tagging system of all my favorite sketchbooks, and we eventually used a lot of those books when we put together The Sketchbook Project World Tour book. The Sketchbook Project has lovingly been called a third in my relationship with my husband Steven, and it’s been a huge labor of love for everyone involved. Now, I’m so happy to serve on the board of directors, and I get to do fun things like this class!

You used to teach classes and helped plan events in the Library’s original space in Georgia (Art House Co-op). Can you speak about finding community through making and sharing art, both then and now?

Yes! I helped with anything and everything back when we were just a few people running the Project. I don’t think I knew what “community” was until after I worked for the Sketchbook Project, and moved onto another company as my day job. I realized that what we had built was indeed a community, and there were professionals doing this as their jobs! We just did what felt right for this group of artists, and hosted events and projects that we would want to do ourselves. My best memories are of touring with the Project and meeting people from all over. There’s something so powerful about getting people who love art together to view other people’s sketchbooks. Strangers strike up conversations over sketchbooks they love, and leave the shows with a new art pen pal, professional connection, or friend.

You have several sketchbooks in our collection—from 2012 all the way to 2018! Could you speak about your process of creating a sketchbook? Do you plan out your spreads or fill out pages as you find inspiration?

I was a little intimidated after seeing so many amazing sketchbooks in the collection and I wanted to create something that told a complete story. I think my first book was the “Encyclopedia of a New York City Rat.” I felted a 3D rat and made paper doll clothes for him that you could interact with. People seemed to have fun with it, so I made a few more rat sketchbooks. Another book I did was more observational, and I started playing around with other materials. I had begun to really appreciate the books in the collection where people just used them as rough sketchbooks and you could see their process evolve through the pages. I think those books inspired me to loosen up a little. Any sketchbook I do always takes me way longer than it should, and I always miss the deadline.

What role do sketchbooks play in your life now? Do you keep a personal sketchbook?

I do keep a few sketchbooks! I still really love doing The Sketchbook Project because I like having a specific format, time-frame, and theme. I’m one of those artists who flounders without some boundaries. Depending on what’s going on in my life I fluctuate in how much work I create—but it’s always there in some way, and has been ever since I was a kid. Since having my own child in 2020, I am finding myself in a period with a lot less time to myself, but the time I do have is a lot more precious, so it’s encouraging me to make more. After almost a year off from making anything, I’m now spending my son’s nap time drawing in sketchbooks. I’m loving having those little pieces of time to myself to create art again.

You studied textile design at Georgia State University. Were textiles always your medium of choice or did you find yourself drawn to it as you developed your creative practice?

I was always into art as a kid, and in high school I taught myself how to sew. I was making dresses and clothes for myself and friends. I think I even had a show at the original Art House with some of my clothes! Once I got to college I knew I wanted to study art, and I kind of just happened upon textile design. I loved working in the studio and learning everything from natural dyes to felting. Outside of textiles, I’ve always drawn and painted. I’ve been able to combine drawing with patterns and textiles, and I still find myself making intricate repeating elements. It took me a while to get to my mediums of choice now, and hopefully those will continue to evolve as I learn new things!

Your projects range from patterns, graphic design, painted illustrations, as well as dyed and printed fabrics. Do you try to balance out physical and digital work? Or do those two worlds blur together as you brainstorm?

Recently I’ve been drawing or painting in a physical sketchbook during the day, and on my iPad at night when I’m just hanging on the couch watching a movie. I’ve had times in my life when I’ve leaned into digital more than hand-drawn or painted work, and I’ve had times when I’ve leaned back into everything being hand-done. Some of my favorite things I’ve done have come from hand painting something and then creating digital versions of them as surface designs.

Who are some artists who inspire you today, or have influenced your career?

One of the first artists who inspired me with pattern design was Mike Perry. I have one of his books and love flipping through it for inspiration. I’m a big fan of illustrator Carson Ellis who has a really unique style and has done a lot of the work for one of my favorite bands The Decemberists. I’ve been incredibly inspired by artists who are in The Sketchbook Project community like Greg Kletsel, Kelly Leigh Miller, Emily Balsley, Sarah Pratt, and so many more. I love discovering new artists every day on social media and I find new artists by following curators like The Jealous Curator, Children_Illustrations, and This is Colossal! For gouache artists, I’ve always loved the work of Anna Bond of Rifle Paper Co., and I’ve recently discovered Oana Befort who does beautiful florals.

Art-making is, in many ways, continuous acts of experimentation. Are there any new materials, techniques, or mediums you want to work with?
In the last 2 years, I’ve taken two marbling classes, one for fabric and one for paper. Those were super fun! Linh My Truong taught the fabric class, and it was a joy. I’m not sure what I’ll do with that just yet, but I loved how freeform that process is. Every time I travel (which hopefully I’ll do again soon), I find an art or stationery store and pick up a new pencil, pen, or art supply. It’s a fun thing to hunt down in a new city, and exposes me to new things to add to my supplies. My most recent find was an opaque white brush-tip pen which I’m starting to experiment with in my sketchbook.

I was hoping you could describe what your current workspace is like. Are there any art supplies you find are essential or you bring with you wherever you go?

Right now I’m lucky enough to live somewhere that I have space to have an art desk and a work desk in separate rooms. This is helping me spread out art supplies and leave my workspace ready for me to jump in when I have a free 30 minutes or so. It also helps me avoid getting side-tracked to computer things when I’m drawing or painting. On my art desk, I have tubes of gouache, a cup of water, brushes, and a big desk caddy of pens, pencils, erasers etc. Before I moved to where we are now, I purged a bunch of art supplies I haven’t used in a while, and I think that has actually helped me focus a little bit!

How do you conquer creative blocks?

I’m certainly not an expert at this, but listening to other artists talk about their process, designs, music etc. always gets me inspired. I’m a big podcast listener, and I’ve heard some really good advice on the Brooklyn Art Library podcast, Design Matters, and TED podcasts. A friend recently recommended listening to The Artist’s Way audiobook which has a lot of good exercises. Greg Kletsel, who I mentioned earlier, also has a great new YouTube channel. 

I keep a folder on my phone of pictures I’ve taken to draw. These might be plants, interesting pottery, or even just color schemes I like from out in the world. That way, if I find myself with a free moment I have something I can pull up instantly. It also helps me keep an eye out in the world for interesting things to take photos of to draw later.

What’s the best piece of art-making advice you’ve ever received?

I love the idea that I’ve heard from other artists and teachers to make as much work as you can to find your unique style. I’m always trying different mediums and looking for consistency in my artwork and designs, but sometimes projects can feel very different from the last. I’ve found that sometimes I have to step back and look at everything I’ve made over a while to find that common thread.

How can people support your work?

Follow me on Instagram or check out my website. I’m always looking for new projects, teaching gigs, or collaborations!